Picture Frames at Ham House - Fastly · Picture Frames at Ham House by Jacob Simon Contents...
Transcript of Picture Frames at Ham House - Fastly · Picture Frames at Ham House by Jacob Simon Contents...
Picture Frames at Ham HouseJacob Simon
Picture Frames at Ham Houseby Jacob Simon
ContentsIntroduction: Picture Framing in London in the 17th Century 3
Ham House in the 1630s: Home of William Murray, Later Earl of Dysart 4
1.1TheGreatHall4 1.2TheGreatStaircase5 1.3TheHallGallery8 1.4TheNorthDrawingRoom9 1.5TheLongGallery9 1.6TheGreenCloset11
Ham House in the 1670s: Home of the Duke and Duchess of Lauderdale 12
2.1TheGreatStaircase12 2.2TheHallGallery16 2.3TheLongGallery17 2.4TheGreenCloset21 2.5TheQueen’sAntechamber22 2.6TheQueen’sBedchamber23 2.7TheQueen’sCloset23 2.8TheDuchess’sPrivateCloset23 2.9TheWhiteCloset26 2.10TheVolury26 2.11TheWithdrawingRoom26 2.12TheMarbleDiningRoom27 2.13TheDuke’sDressingRoom28 2.14TheDuchess’sBedchamber29
Ham House in the 1740s: Home of Lionel Tollemache, 4th Earl of Dysart 29
3.1TheGreatHall29 3.2TheHallGallery31 3.3TheGreenCloset31 3.4TheQueen’sBedchamber32 3.5TheVolury33 3.6TheWithdrawingRoom33 3.7TheMarbleDiningRoom34 3.8TheDuke’sDressingRoom34
Appendix: Cautionary Notes and Technical Terms 35
Further Reading 35
Acknowledgements 36
2 Picture Frames at Ham House
3
TheextraordinarychangesinpictureframinginLondoninthe1620sand1630s,fromsimpledesigns,oftenpaintedorstainedblack,toarangeofelaboratelycarvedandgiltframescameaboutasaresultofthecollectingactivitiesofKingCharlesIandmembersofhiscourt.Somepicturescollectedabroadcamewithelaborateframes,notablyfromItaly,whilemostwereframedherebycraftsmenwithcloselinkstotheContinent,especiallytheNetherlands,whetherbymigrationormarriageorthroughthetransmissionofideasthroughtheimportofengraveddesigns.ItwastheNetherlandsthatinspiredtheauricularstyle,literally‘oftheear’,ahighlystylisedfree-flowinginterpretationoforganicforms,usuallyanimalormarineinnature,sometimesmarriedwithfoliageandscrollsorvolutes.FramemakersworkinginLondonembracedthisfashionwithenthusiasm,usingitinoneformoranotherforpicturesofalmostallsizesfromthe1630stothe1680s.Theterm,‘auricular’,isamodernone.Inthelater17thcentury,
someartistsandcraftsmencategorisedthepatternas‘leatherwork’,giventheappearanceofsuchframesashavingbeenmadeoutofmaterialthatcouldeasilybecut,bentandrolled,likeananimalskin.Therewereotherlessdemonstrativestylesatthetime,withrepeatingleaforsmall-scalefoliagepatterns,whetherusedinarchitecturalsettings(atHamHouse,thefixedoverdoorframesandsomeoftheovermantelframes)orasindependentpictureframes(atHamHouse,thecushionandbunchedleafpatterns).TounderstandtheframingofthepicturecollectionatHamHouse,thereaderisencouragedtomakethreecircuitsofthehouse,toappreciatethecontributionsofWilliamMurrayinthe1630s,ofhisdaughter,theDuchessofLauderdaleandherhusbandtheDukeinthe1670s,andofhergreat-grandson,the4thEarlofDysartinthe1730sand1740s.Forcautionarynotesconcerningthisguideandfortechnicalterms,seetheAppendixonpage35ofthisguide.
Introduction: Picture framing in London in the 17th century
OppositeSir Anthony van Dyck and Studio, c. 1637King Charles ISeepage9
4 Picture Frames at Ham House
HamHousewasbuiltin1610forSirThomasVavasour(1560–1620),KnightMarshaltoJamesI.HambecamethehomeofWilliamMurray(c.1600–55)in1626.HewasaclosefriendofKingCharlesI,havingbeenhis‘whippingboy’whenyoung,takingpunishmentonbehalfoftheyoungprince.HeaccompaniedCharles,whenhewasPrinceofWales,toSpainin1623,wheretheSpanishRoyalcollectionexcitedtheyoungprince’sinterestincollecting.Althoughnotaleadingcollector,probablyduetohisfinancialcircumstances,Murrayplayedasignificantpartinthecourtcultureofhistime,givingorexchangingpictureswiththeKing,arrangingpaymentfortheKingtoVanDyckin1637andtakingaleadingpartontheKing’sbehalfinnegotiationswithJacobJordaensforpaintingstodecoratetheQueen’sCabinetatGreenwichin1639.MurraysupportedtheRoyalistcauseintheCivilWar,andwascreatedEarlofDysartforhisloyalty.Hediedin1655.WilliamMurraycameintoHamin1626.Heremodelledtheinteriorbetween1637and1639,creatingtheGreatStaircaseandasuiteofsumptuousstateroomsonthefirstfloor.Heemployedthelittle-knownjoiner,ThomasCarter,forsomeofthefixedcarvinginthehouse,includingtheoverdoorpictureframes,butthecraftsmenresponsibleforthetrophiesandmoreelaborateworkontheGreatStaircase,theambitiousfireplaceintheNorthDrawingRoom(thentheWithdrawingRoom)andthecarvingintheGreenClosetremaintobeidentified.TheinteriorswereplasteredbyJosephKinsmananddecoratedandgildedbyMatthewGoodricke(?1588–1645),bestknownforhisextensiveworkforCharlesIandQueenHenriettaMaria.Goodrickechargedtheveryconsiderablesum
of£320inApril1638forpaintingandgildingworkinvariousroomsatHam.AstotheoverallschemeatHam,therearetwotheories,theonethattheartist,FrancisCleyn(1582–1658),mayhaveadvisedWilliamMurray,giventhatpaintingsattributedtohimremaininthehouse,theotherthatthecraftsmenwhoworkedforInigoJonesandtheOfficeofWorkswereperfectlycapableofcarryingoutworkatHamunderthesupervisionofMurrayhimselfandhisagent.ItisworthnotingthatoneofCarter’sbillswascheckedandinitialledbyanunidentified‘D.C.’insomesortofsupervisorycapacity.
1.1 The Great Hall
Ham’sfrontdoor,dated1610,belongstoSirThomasVavasour’stime.Inside,theGreatHallhasundergoneconsiderablechangesovertheyears.InWilliamMurray’stime,theroomwassingleheightandgavedirectlyontoaterraceoverlookingthegardenatrear,probablythroughthedoorwhichnowleadstotheMarbleDiningRoom.Theceilingwasopenedup,perhapsaround1700andthepanellingaltered(see3.1).ThomasCarterprovidedthechimneypiecefor‘thehall’for£2.10sandin1638MatthewGoodrickechargedfor‘paintinglykegrayMarbletheChimneypeece…andguildingtwomembersoftheCornicethereof’for£1.10s,butneithermentionsafixedpictureframeoverthechimneypiece.Thepresentchimneypieceismadeofblackmarble,meaningthatitisareplacement,aspresumablyistheovermantelframewhichhasbeenreducedinheight,asexaminationofthecornerleavessuggests,andadaptedwithaninsertedinnermoulding.Therewasanunidentifiedpictureabovethechimneyatthetimeofthe1655inventorybut
Ham House in the 1630s: Home of William Murray, later Earl of Dysart
Ham House in the 1630s 5
otherwisetheroomwasnotinitiallyusedforpictures.Theovermantelframeisalmostidenticalindetail,butonagranderscale,totheoverdoorsinthefirst-floorHallGallery(1.3),knowntohavebeencarvedbyThomasCarterin1638.Indeed,sogreatarethesimilaritiesthatoneneedstoaskwhetherthisundocumentedframecouldhavebeenbroughtdownfromtheHallGallery.EithersidearefiguresofMarsandMinerva,perhapsdatingtothe1630s,butexactlywhentheycamehereisuncertain.Forlaterframes,see3.1.Elsewhereonthegroundfloor,therewerefamilyroomsinWilliamMurray’stime,nowcompletelyaltered.Itistheextraordinarysequenceofrichlydecoratedstateroomsonthefirstfloorwhichisthefocushere.FromtheGreatHall,thevisitorprogressedbywayoftheimposingstaircasetotheHallGallery(thentheGreatDiningRoom),followingtheElizabethanandJacobeanpracticeofplacingtheGreatChamberoritsequivalentonthefirstfloor.AsaThames-sidevilla,ratherthanagrandcountryhouse,thesequenceofroomsatHamwascompressed.FromtheHallGallery,thevisitorwithdrewtotheNorthDrawingRoomandcouldthenprogresstotheLongGalleryasaroomofparade,offwhichwastheinnerGreenClosettowhichtheprivilegedmightbeadmitted.Here,thesequenceofstateroomscametoanendatthattime.
1.2 The Great Staircase
Thestaircasewithitsrichlycarvedswagsandmilitarytrophiesisararesurvivingdocumentedschemefrom1638,suppliedinpartbyThomasCarter,andoriginallypaintedin‘walnut-tree’colourandgildedbyMatthewGoodrickefor£64.Itis
nowinalate20th-centuryrecreationofa19th-centuryscheme.TheceilingsarebyJosephKinsman,1637–38.ItwouldseemthatseveralofthecopiesafterItalianpaintingscametoWilliamMurrayinthe1630sbycourtesyoftheKing,whoownedtheoriginalsorhadaccesstocopies.ThecopiesafterpicturesintheSpanishRoyalcollectionmayhavebeenbyMichaelCross,alsoknownasMigueldelaCruz(active1633–60),CharlesI’sleadingcopyisttowhomtwoofthepictureswereattributedin1683,whenallofthepictureslistedbelowwereincludedinaninventory.CrosswasnottheonlycopyistatworkfortheKing.RichardGreenburyandDanielMytenscopiedpicturesinLondon(GreenburyCorreggio’sVenus, Mercury and Cupidin1630/1andMytensTitian’sVenus del Pardo)andCharlesIreportedlyhadanothercopyistworkingforhiminSpainin1635.Asonemountsthestaircase,aratherbewilderingvarietyofimportantandextraordinaryauricularframescomeintoview,revealingarangeofelaboratestylesfromthe1630stothe1670s.Noneofthemarenowgilt,whichsetsthemapartfrommostframesofthistype,althoughafewhavetracesofgessosuggestingthattheymayoncehavebeenpaintedorgilded.Theframesareofoak,generallywithmortise-and-tenonpinebackframes.Astotheirmakers,therewereworkshopscapableofsuchworklikethatofthecarver,ZacharieTaylor,acloseassociateofMatthewGoodricke,butinthepresentstateofknowledgeitisnotpossibletoattributetheoutstandingearlyframesatHamexcepttoseethemastheworkofmorethanoneleadingLondon-basedcarver.ThosepictureswhicharethoughttohavebeenframedforWilliamMurrayarediscussedhereintheorderdisplayed,startingnearthefootofthestaircase.Forthelaterframes,see2.1.
6 Picture Frames at Ham House
Italian School The Battle of LepantoNT1139664
Aone-offpatternofexceptionallylargedimensionsbutnarrowinwidth,deeplycarvedandundercut,ofpiercedandstainedoak.Itmayhavebeenmadetothiswidthspecificallytofitthespaceonthestaircase.Thereareslightlyuncomfortablecutsinallfoursidesoftheframe,perhapsreflectingitsconstructionorhistory.Whethertheoverlappingfoliageandauricularformsreallysuggestthewavesofthesea,ashasbeenputforward,isamatterofdebate.Notealsothefeatheredwingstowardsthebottomofeachside.Lookingatthestaircaseframesdescribedhere,thisoneandthatonVenus and a Satyr(page8)standapartfromthe‘leatherwork’framesonthenextthreepictures.
After Correggio (original then owned by King Charles I, now in the National Gallery, London)Venus with Mercury and Cupid NT1139671
TheframewasclearlymadeforthepictureandfeaturesMercury’swingedhelmetattopandCupid’sarrowsandquiveratbottom.Itwaspresumablyoncegiltasgessotracesintheintersticeswouldsuggest.Unusuallyforaframeofthistype,thesidesaresymmetricalaboutthehorizontalaxis,andcentreonahighlystylisedmaskwithvacanteyesockets.Theratherflatorganicforms,theinneredgesofwhicharehighlightedbyadefiningline,canbeinterpretedasdriedanimalskins,turningupattheedges.
Ham House in the 1630s 7
Attributed to Michael Cross (original then in Spanish Royal Collection, now in Prado, Madrid)Venus and Adonis(afterTitian)NT1139673
Anambitiouspatternwhichwasperhapsoriginallygildedinviewoftracesofgesso.TheornamentaldetailswereperhapsintendedtoreflectthethemeofAdonisthehunter,withanimalmaskstopandbottom,alion’sheadtowardsthetopofeachside,andropetiedcornersaccentuatingthesenseof‘leatherwork’,assuchorganiccarvingwasdescribed.TheuseofmasksandtherepeatednotchedscrollscanbefoundonotherearlyframesatHam(see1.3,1.5).
Attributed to Michael Cross (original then in Spanish Royal Collection, now in National Gallery of Scotland and National Gallery, London)Diana and Actaeon (afterTitian)NT1139669
Aboldelongationofthestandard‘grimacingmask’patternofthe1630sand1640s(see2.3),butwithafantastichornedmaskatbottomcentreandexpandedornamentonthesides,theformsweightyandponderous.Thebottomsideoftheframecanbeviewedasaroughlycutflatskin,curlingandscrollingatitsextremitiesoveritself.
8 Picture Frames at Ham House
Attributed to Michael Cross (original then owned by King Charles I, now in Louvre, Paris)Venus and a Satyr (The ‘Venus del Pardo’;afterTitian)NT1139666
PerhapsbythesamehandastheframeonThe Battle of Lepantobutagainaone-offpattern,clearlydesignedforthepicture,withacarvedsatyrheadatbottombeneatheachsatyrinthepictureandwingedcherubattopaboveCupidinthepicture.Thebulbousanddeeplyundercutcarvingisleafyandfleshyincharacter.Thecherubandtheanimalmaskatbottom,withribboninmouth,arefeaturesfoundinsomeotherframesontheGreatStaircase.
1.3 The Hall Gallery (then the Great Dining Room)
WilliamMurray’sGreatDiningRoomwasremodelledin1637/8andhungwithtapestries.ThefloorwaslateropeneduptooverlooktheGreatHall.Thedoorsurroundswerepaintedlikepolishedwhitemarble,therichlycarveddoorsinwalnut-treecolourandtheremainingwoodworkblue,withtheenrichmentsandcarvinggilt.TheceilingisagainbyJosephKinsman,1637–38.Theoverdoorframeshavefourrowsofcarving,withaninwardcurvingtopedgeofflatgadroonsanddarts,setabovearoundedfriezeofribbon-tiedbundlesofflatleavesseparatedbythreeflowerheads.Theprofileanddetailingrecallsomelate16th-centuryFlorentinework.TheframesmatchthepatternoftheovermantelframeintheGreatHall(1.1).TheywerecarvedbyThomasCarterfor£2.10s,andgildedbyMatthewGoodrickefor£4,orasheputitinhisbillofApril1638,‘whollyguiltover’,theonlyfeatureintheroomwhichwasnotpartlypaintedbutcompletelygilt.Neithercraftsmanmentionsachimneypiece.Therewerethreelandscapesby‘Decline’in1683,givingrisetotheattributionofthepresentpaintingstoFrancisCleyn,oneoverthethenchimneyandtwooverthedoors,asinthe1679inventory.Naked BoysorPutti with Lions,attributedtoFrancisCleyn,isprobablyoriginaltotheroomwhiletheill-fittingAdamElsheimercopy,Tobias and Angelisalaterintroduction.Forlaterframes,see2.2and3.2.
9Ham House in the 1630s
1.4 The North Drawing Room (then the Withdrawing Room)
Oncemore,thecarvingistheworkofThomasCarter,whiletheceilingisbyJosephKinsman,1637–38.Certaindecorativemotifsarerecurrentinthisroom:nakedboyscanbefoundinboththepaintingsandsculptures,andfriezesoffruit-and-leavesfeatureinKinsman’splastercorniceandalsoinCarter’scarvedoverdoors.Theoriginsoftheelaboratechimneypieceareunknown.Carter’sratherFrench-stylepanellingwasprobablypaintedwhitefromthebeginningandtheroomwasoriginallyfurnishedwithchairsinwhitesatin.Thewallswerehungwithtapestriesofadifferentsettothoseseenin-situtoday.TheoverdoorshaveframescarvedbyCarter,atacostof£4,similarinsectiontotheprecedingroombutmuchricherwithribbon-tiedfriezesoffruit-and-leavesandcornersfinishedwithprominentacanthusleaves.Notethattheoverdoorframetotheleftofthefireplace,aninsertionofthe1670s,hasadifferentrhythmtotheribbonties.Aswiththepreviousroom,thefixedpictureswereattributedto‘Decline’in1683.Therewerealsotwoovalperspectivepiecesingiltframesin1679.
1.5 The Long Gallery
ThepanellingwasremodelledbyThomasCarterin1639,whointroducednewmouldings,20Ionicpilastersandthe‘pedestal’panellingrunningaroundthelowerpartoftheroom,atacostofsome£68.EvidenceastotheearlypicturehangislimitedbuttheroomwouldhavebeenanobviousplaceforWilliamMurraytohangpaintings.Now,itishungthroughoutwithportraitsincarvedandgildedauricularorsimilarframes.Twoframesdatingtothelate1630sarediscussedhere.TheyareofaqualitytohavebeenmadebyleadingLondonframemakersofthetime.Forthenumerouslaterframesfromthe1640sonwards,see2.3.
Sir Anthony van Dyck and Studio King Charles I NT1139944
Veryprobablytheportraitof‘LeRoivestudenoir…avecsamollure’[TheKingdressedinblack…withitsframe],asitwasdescribedbyVanDyckinhisbilltotheKingofabout1638.ItisthoughtthattheportraitwasagiftfromCharlesItoMurray.Therareandoutstandingframe,ifnotchosenbytheartistpresumablymetwithhisapproval.Thescrollsandfoliage,thefantasticmasks,perhapsalionattop,andthetiedtripartitecornerscentringonapomegranate,arefeaturesfoundonotherframesoftheperiodbutrarelytothisexceptionalquality.Notethedelightfuldetailoftheimpressionofropebeneaththeflatoftheframewhichthenemergestoactasatietothebottomcorners,continuingtheconceitofalargelyhiddenroperunningroundtheframefromtoptobottom,holdingtheleatherworkofthefoursidestogether.
(shownonpage2)
10 Picture Frames at Ham House
After Anthony van Dyck, 1637 Queen Henrietta Maria NT1139955
Theframewithitspairedvolutesatallfourcentresanddensescrollingfoliagerunningtotherope-tiedtriple-budcornersisagoodexampleofaclassic1630sframetype.Itisfoundelsewhereonalargerscale(e.g.twofull-lengthframesatKnole,nowhousingtheVanDyckstudioCountess of DorsetandSirPeterLely’sDuchess of Cleveland).ThisisadistinctiveEnglishframestylewhichisdistantlyindebtedto‘Sansovino’andotherVenetianframes,characterisedbythesculpturaluseoflarge-scalescrollsandvolutes,oftenwithfestoonsoffruit.
Ham House in the 1630s 11
1.6 The Green Closet
TheGreenClosetwasalreadyfinishedingreenby1655,whendescribedas‘theclosetwithinthegallerie’.Theunusualogeecornice,resetinplaces,withaflatformalisedleaf-and-anthemionpattern,issodifferenttoothercarvinginthehousethatitispresumablyfromaworkshopotherthanthatofThomasCarter.TheGreenClosetwasprobablyhungwithsmallpicturesfromanearlydate,onthemodelofcabinetroomselsewhere.In1679therewere14pictureswithgiltframes,38inblackebonyandonewitharoundcarvedframe.Some35ofthepicturesandminiaturesnowintheroomcanbeidentifiedasbeingatHamin1683,andmanyofthemmayhavebeenhereeversinceWilliamMurray’stime(seedownloadablecatalogueontheNationalTrustwebsite).Mentionismadehereofalimitednumberofebonyframes,forthelaterlimewoodframes,see2.4,andforthelatergiltpineframes,see3.3.Inthetoprowonthelongwall,alltheworkshaveebonyframesoffinequality,manyofwhichareoriginalorfairlycloseindatetothepictures.Themostelaborate,eithersideofcentre,arethoseonJacquesStella’spaintingsonslate,Salome with the Head of St John the Baptist,dated1637,andVirgin and Child with St John the Baptist and Child Angels,bothwithflatframesinebony-veneeredpine,withripplemouldingsinebonyonthesightandbackedges,ofasortfoundinEuropeformuchofthe17thcentury.Verydenseandblack,ebonywasanexpensivewoodwhichwasimportedfromIndiaandCeylonfromthelate16thcentury.Inthesecondrowonthelongwall,thelittlecopperafterHansRottenhammer,Danaë and the Shower of Gold,relatescloselytoapictureformerlyinCharlesI’scollection.Itishousedinanebonyframemadeupofaseriesofmouldingsandexceptionallytheframesidesareveneeredinebony,lendingthepictureaparticulardistinction.Thefirst-floorcircuitofHamHouseinthe1630swouldhaveendedhere.Untiltheroomsonthesouthfrontwereaddedinthe1670s,Hamwasrelativelysmallinscaleforagrandhouse.
Jacques StellaSalome with the Head of St John the BaptistNT1139900
12 Picture Frames at Ham House
Ham House in the 1670s: Home of the Duke and Duchess of Lauderdale
HampassedtoMurray’seldestdaughter,ElizabethMurray(1626–98),whensheinheritedasCountessofDysartin1655.Beautiful,learned,ambitiousandgreedy,shemarriedtwiceandhadnumerouschildren.In1648,shemarriedSirLionelTollemache(1624–69),ofHelminghamHallinSuffolk.ItwastotheTollemachefamilythatHampassedafterherdeath.HersecondmarriagewastoJohnMaitland,DukeofLauderdale(1616–82),SecretaryofStateforScotland.Inthedecadebetweentheirmarriagein1672andtheDuke’sdeathin1682,theyextendedandrefurbishedHam,atacostofatleast£10,000,addingasequenceofroomsfacingontothegardenonthesouthside,andrefurnishingthehouseasapalatialvilla,reflectingtheDuke’sstatusasoneofthemostpowerfulministersofKingCharlesII.JohnEvelynin1678describedthehouseas‘furnishdlikeagreatePrinces’.
2.1 The Great Staircase
In1677,intheearliestLauderdaleinventory,therewereninepictureswithcarvedframesontheGreatStaircase,atleasttwoofwhichweregilt.Atsomestage,whetherthenorlater,thedecisionwastakentoavoidgiltframesonthestaircasealtogether,anunusualbuteffectivearrangementwhichmayinsomewaybeinfluencedbythetasteforelaboratecarvingwithoutgildingusedinsomanyWrenCitychurchesandincarvingdoneundertheinfluenceofGrinlingGibbons.Perhapsfourofthestaircaseframeswereintroducedinthe1670saspartoftherefurbishmentsatHam.Theyareratherdifferenttootherpictureframesoftheperiod.Whileeachframehasitsowncharacter,theymayallfourcomefromthesameworkshop.Theyarerecognisablebytheirdarkwoodfinishandsometimesratheropengrain,bytheirelongatedcurvingsweeps,whetheroffoliageorplainerleatherworkscrolls,bytheiruseofwingedcherubheadsoreagles,andbytheirratherfussybutinsistentfestoons.Insomeways,theyhavemoreincommonwiththecarvedworkfoundinWrenchurchesthanwiththegiltauricularframesoftheperiod,suchasfoundintheLongGallery(2.3).Theonlyevidenceastotheirmakercomesfromthepaymentof£10toHeinrickDominick,the‘Germancarver’,asauthorisedbytheDuchessofLauderdaleinJune1673,for‘twogreatcarvedPictureFrames’.WhileherauthorisationmakesnoreferencetoHam,acontemporarybillsubmittedbytheframemaker,JohnNorris,dated29July1673,referstogoingtoHamandputtingthetwogreatpiecesuponstretchingframesatacostof15s(stretchingpictureswasoneofNorris’sspecialities),whileHenryHarlowthejoinercharged35sfortwostrainingframesfortwogreatpiecesonthegreatstairsinMarchthatyear,aswellasforsupplyingtwobackframesandfittingthecarvedframestothemfor25s.ThiswouldsuggestthatatleasttwoofthelargepicturesatHamwerepreparedandframedin1673.Theearlierframeshavealreadybeendescribed(1.2).Laterframesareexaminedhereintheorderdisplayed,fromthefirstnearthefootofthestaircasetotheothersmuchfurtherup.
13Ham House in the 1670s
Dirck van BergenLandscape with an Old Herdsman and Young Market Girl, 1670sNT1139667
Thisframe,presumablytheoriginal,isperhapsintendedtoevoketherichesofthelandandfarminginresponsetothepicture’ssubjectmatter,withfruit-and-flowerfestoonsofgrapesandflowers,intertwinedwithfoliageandscrolls,runningaroundtheframefromthemaskattopcentre,withwingedcherubheadsonthesides,tobeheldbyeaglesatbottomandfinishinginpairedcornucopiaatbottomcentre.Likethepreviousframe,itappearstobemadeofoak,withaheavy,hot-colouredvarnish,perhapsofrelativelyrecentdate.
Copy after Abraham Bloemaert The Angel appearing to the Shepherds NT1139663
Thisisaframeofthe1670s,withwingedcherubheadsonthesidesandatbottom,pickingupontheflyingfiguresinthepaintingitself,withfruit-and-flowerfestoonsrunningthroughthescrollsandsweeps.Thenearestparallelisthecarved-and-giltframenowseenonJohnMichaelWright’spaintingCharles II(NationalPortraitGallery,London),withitswingedcherubheads,similarcornerdetailingandfestoons.
14 Picture Frames at Ham House
Jacques de Gheyn IIJulius Caesar on Horseback (?fromDeGheyn’svisittoLondonin1622).NT1139674
Quitedifferenttootherframesonthestaircase,thisisacushionframe,astandardmid-centurypattern,laterthanthepicturebutapparentlymadeforit.Carvedfrompine,withstandardlapjoints,itischaracterisedbythehalf-openbudsonatwistingropereversingatclaspedcentres.Thetypeisusuallygilded(thereisanexampleintheVolury,see2.10),buthereitispaintedorochred.Perhapsthisframereflectsthetastefor‘sadlute’colour(darkwarmyellow/orange),afinishusedforpaintedframesinthe1630s.
Attributed to Michael Cross (original then in Spanish Royal collection, now in Prado, Madrid)Venus and Organ Player (afterTitian)NT1139670
(continuedonthefollowingpage)
Ham House in the 1670s 15
Probablyaframeofthe1670s,itcanbecomparedwiththatonLandscape with an Old Herdsman and Young Market Girl(page13),inviewoftherathersimilareagles,hereatthesidecentres,andcornucopia-likeforms.Otherfeaturessuchasthepairedvolutesrecallearlierframesand,indeed,thecarvermayhavehadsuchearlierframesinmindifthecommissionspecificallyrelatedtoprovidingframesforadditionalpicturesonthestaircaseatHam.
Adriaen van NieulandtDiana with Nymphs, 1615 NT1139668
Aframeofthe1670s,thetopwithwingedcherub,scrollsandfoliage,thesidesnearlysymmetricalwithexceptionallylongsweepsfromcentretocorner(somewhatlikethepreviousframe),thecornerstied,thebottomwithafantasticmaskheadholdinginitsmouthaclothdrapedtoeachsideinswags.
16 Picture Frames at Ham House
2.2 The Hall Gallery
Theroomcontinuedtobehungwithtapestriesinthelate17thcentury.Onlyonemovablepicture,theLelydescribedbelow,waslistedhereinthe1679inventory.ItwasnotuntilafterthefloorhadbeenopeneduptoformthepresentHallGallery,perhapsabout1700,thattheroomcametobeusedforpictures.Thefocushereisonthe17th-centuryframesonthedoubleportraitsateitherendoftheroom.Forsomeofthelaterframes,see3.2.CorneliusJohnson’sWilliam Hamilton, 2nd Duke of Hamilton with John Maitland, Earl(later) Duke of Lauderdale,paintedinHollandin1649,presumablydidnotcometoHamuntilafterLauderdalemarriedElizabethDysartin1672.Theoakframeappearstobetheoriginal,madeinEnglandratherthanHolland.Itcanbereadasfourpiecesofleatherwork,tiedtogetheratthecorners,ontowhichareimposedfestoonsrunningfrombelowthewingedcherubattopcentre,behindtheadjoiningvolutes,forwardandthenouttothetriplebud-and-leafcorners,downthesidesinheavyfestoons,runningbehindthefoliageandscrolls,tothecornersandthentotheshieldatbottomcentre.Noteinparticularhowtheswagsseemtoemergefromthesurfaceoftheframeatthebottomclosetothecorners,asiftiedthroughthe‘leatherwork’.Theframe’sperishedsurfacesuggestsregildingoveranunstablesubstrateandraisesthepossibilitythatitsoriginalfinishmayhavebeenratherdifferent,perhapsevenpartlypainted.
Sir Peter LelyJohn Maitland, Duke of Lauderdale and Elizabeth Murray, Countess of Dysart and Duchess of Lauderdale NT1139789
SirPeterLely’sJohn Maitland, Duke of Lauderdale and Elizabeth Murray, Countess of Dysart and Duchess of Lauderdale,paintedc.1675andhunghereby1679hasitsoriginalcarved-and-giltframeofbunchesofleaves,reversingatribbon-tiedcentres,alater17th-centurypatternwhichcanherebelinkedtothealmostcontemporaryarchitecturaldecorationintheQueen’sClosetandtheMarbleDiningRoom(2.7,2.12).Althoughre-gilded,theframeisaparticularlyfineboldlycarvedexample,madeofmitred-and-keyedpine,thewoodusedformostpost-Restorationframes.ThisisaFrenchinspiredpattern,muchusedinpictureframinginthelate17thcentury.Moremodestexamplesofthisframestylecanbefoundinroomsonthegroundfloor(2.9,2.14).
Ham House in the 1670s 17
2.3 The Long Gallery
Bythe1670s,theLongGallerywasestablishedasaspaceforhangingpicturesingiltframes,whatHoraceWalpoleacenturylaterdescribedas‘anoldbrowngalleryfullofVandycksandLelys’.TheGalleryasnowdisplayedincludesvariousportraitsfromtheCommonwealthandtheRestorationbutthecollection’sgrowthisnotwelldocumentedexceptbyapaymentin1666toSirPeterLelybythefutureDuchessofLauderdaleof£20foraportraitofhersister,Katherine.Theroomitselfunderwentalterations,withthelossofthe‘twogreatfrontishpeeces’thatThomasCarterhadsuppliedin1639.Thepainteranddecorator,NicholasMoore,undertookextensivegildingworkintheGalleryin1673(andgildedanunidentifiedpictureframeintheroomfor£2).TheLongGalleryisashowcaseforcarved-and-giltauricularframes.Thevarioustypescoexisthappilyandcreatearemarkablespectacle,theirintricateformscatchingtheavailablelight.Thetwoearliestframeshavealreadybeendescribed(1.5).Theotherframesarediscussedhereintwogroups,firstlythestylesbelongingtothe1640s,1650sand1660s,withstraightsightedges,andsecondlytheframesintheso-calledSunderlandstyle,fromthe1660sand1670s,distinguishedbytheirirregularsightedges.Thesepatternscouldbescaledupordownaccordingtothesizeofthepicture.Theyaremostlyofoakwithpinebackframes,somewiththeiroriginalpeggedmortise-and-tenonjointsintact,butfurtherresearchisneededtobeconfidentaboutmaterialsandalsoabouttheprecisestatusofeachframe.ResearchershavesuggestedthatvariousoftheSunderlandframesmaybelaterindate.
Auricular FramesAmongtheearlierauricularpatterns,withstraightsightedges,threedifferingframetypescanbereadilydistinguished,despitethecomplexityofthecarving.
Sir Peter Lely Elizabeth Murray, Countess of Dysart with black servant NT1139940
Theframeislikelytobeoriginaltotheportraitsinceitsunusualsize,widerthanstandard,makesitunlikelythatthisframehasbeenswappedfromanotherpicture.Itisanexampleofastandardframetypecharacterisedbythehighlystylisedlionmaskandpawsatthetop,theframesideslikeaflatskin,theedgesofwhichareirregularandcurlingover.OtherframesofthistypeonLely’sworkcanbefoundontheadjoiningportraitoftheCountess’syoungersister,Lady Margaret Murray, Lady Maynard,c.1670(oakframe;pinebackframewithwell-preservedpeggedjoint),andonthosecalledSir Henry VaneandcalledLionel Tollemache, 3rd Earl of Dysart.
(picturedoverleaf)
18 Picture Frames at Ham House
AboveSir Peter LelyElizabeth Murray, Countess of Dysart with black servantSeepage17
19Ham House in the 1670s
Unknown ArtistAn Unknown Lady in Red, 1630s NT1139938
Theportraitislikelytoretainitsoriginalframesinceitistoanon-standardnarrowformat.Thisparticularframetypeisrecognisablebythegrimacingmaskattopcentrecrestedbyawavyscroll.Ascaled-downversionistobefoundonCorneliusJohnson’sJohn Maitland, 2nd Earl (later Duke) of Lauderdale,c.1642-3?(laterincorrectlyinscribedasEarlofDysart).
After Sir Peter Lely King Charles II, 1660sNT1139949
Theframeispossiblyearlierthantheportrait.ItistheonlyoneatHaminthesea-monster-and-shellsstandardpatternsometimesfavouredbyLelyinthe1650sandearly1660sbutalsofoundonworksbyotherartists.ItcouldbescaledupordowntosuitthesizeofthepictureasacomparisonwithLely’sEarl and Countess of Essex and Earl of Sandwich(bothNationalPortraitGallery)shows.Thetypeisreadilyidentifiablebythestylisednautilusshellsatthecorners,scallopshellsnearthesidecentresandfantasticmasksofseamonsterattopcentreandwingedmonsteratbottom.
Sunderland FramesSunderlandframes,fashionablefromthe1660suntilthe1680s,areafurtherdevelopmentoftheauricularstyle.Theytaketheirnamefromthe2ndEarlofSunderland,manyofwhosepicturesatAlthorpareframedinthestyle,butthenameisprobablyalate19th-centuryone.Theframesarebewilderinglycomplexinappearance,incorporatinghighlystylisedpatternsofflowingstalks,leavesandscrolls,centredattoponashieldandatbottomonagrotesquemask.InnootherEnglishframetypedoesthesightedgecutintothespaceofthepictureinsuchanirregularway.Inthe1670s,thepaceofworkatHamincreasedwiththeenlargementofthehouse.Oneofthoseactivewastheleadingcarverandgilder,JohnNorris(?1642–1707),whoworkedfortheCrownandmanynotablepatrons.HevisitedHamtostrainpicturesintheGalleryandontheGreatStaircasefortheDuchessofLauderdale,andheprovidedpictures,framesandstretchersformovablepictures.In1673hereceived£30forasetofcopiesafterPolidorodaCaravaggioon18–24April(nowinthe
20 Picture Frames at Ham House
MarbleDiningRoom,see2.12),£14forpictureframesandstrainingframesetcon4July,£17forpictureframesandworkatHamonorafter9October,and£3.10sforasinglepictureframeon18October.In1675hewaspaid£8on19Julyand£13.10son27Octoberforunspecifiedwork.
Cornelius JohnsonWilliam Hamilton, 2nd Duke of HamiltonNT1139948
SirPeterLely’sDuke of Lauderdale(toleftofCharles II)hasanoakframeattributedtotheleadingcarverandgilder,JohnNorris,whocharged£3.10sin1673foraframeforaportraitoftheDuke.Norrisbilledforfiveotherhalf-lengthcarvedandgildedframesat£3eachsoitislikelythatsomeofthenumerousexamplesintheGalleryarehiswork.Thepatterncouldbescaledupordown,ascanbeseenfromCorneliusJohnson’sWilliam 2nd Duke of Hamilton,paintedinHollandin1649butframedinEngland.
Ham House in the 1670s 21
Sir Peter LelySir William ComptonNT1139946
SirPeterLely’sSir William Compton(oppositetheGreenCloset),fromthe1650s,ishousedinan18th-centuryvariationonaSunderlandframe,withrosettesatthetopcorners.IthasalreadybeenpointedoutabovethatseveraloftheSunderlandframesarelikelytobelatercopies.
ThesequenceofnewroomsbuiltbytheLauderdalesinthe1670sbeginsatthefarendoftheLongGallery.Theworkwassupervisedbythegentlemanarchitect,WilliamSamwell(1628–76).TheLondoncarver,JohnBullamore(b.c.1641)undertookmuchofthecarvedwoodwork,andtheDutchpainter,DirckvanBergen(1640–95),previouslyemployedbyKingCharlesII,providedvariousoverdoorpaintings.
2.4 The Green Closet
Whiletheroomdatestothe1630s(see1.6),someoftheframesandmuchofthefurniturebelongstothetimeofElizabethDysart,includingthesilver-mountedebonytable,whichisdatableto1655–72fromhercoronetandmonogram.WhetherforworksintheGreenCloset,theDuchess’sPrivateCloset(2.8)orelsewhere,WilliamNaylor,‘Ebonyframemaker’,receivedpaymentsfromtheDuchessof£7.1sinMay1675andafurther£1.12sforasingleebonypictureframeinOctoberthesameyear.Attentionisdrawntotwoovalportraitheads,inelaboratelimewoodframes,perhapsdatingtothe1670s(theportraitswereatHamby1683andpossiblyby1679).TheyarebyunknowncarversinthestyleofGrinlingGibbons(suchframeswerebeingdescribedas‘Gibbonsmanner’asearlyas1690).Theframeontheportrait,GerritDou’sHead of an Old Man,wasmadeforthepicturesometimeafteritwaspainted,whereastheratherbetterframeonthecopyofHansHolbein’sDesiderius Erasmuswasapparentlymadeforanotherworkandthenadaptedforthispicture.
22 Picture Frames at Ham House
After Hans HolbeinDesiderius ErasmusNT1139904
2.5 The Queen’s Antechamber
ThisroombecametheantechambertotheQueen’sBedchamberasplansevolvedinthe1670s.Itisgrainedtoresembleolivewoodorsimilar,andhungwithfadedbluesilk.Whiletherewere13or14movablepicturesintheroomin1679,someingiltframes,othersinebony,theseweremovedelsewhere,leavingthethreefixedlandscapesbyDirckvanBergen,whichwereinstalledbetween1677and1679andremaintothisday,framedinsimplegiltmouldings.MoreelaboratearetherichlycarvedandgiltswagsandfestoonsattributedtoJohnBullamore,completewithducalcoronet,aroundthechimneypainting.
Ham House in the 1670s 23
2.6 The Queen’s Bedchamber
Inthe1670s,theQueen’sBedchamberwaspreparedinanticipationofavisitbyCatherineofBraganza.Itwasdesignedastheclimaxofthesequenceofstaterooms,withamagnificentstatebedstandingonaraiseddaisatthefarendoftheroom,setbehindabalustrade.Thisarrangementwasabandonedbythe1740s(see3.4).Theroomhadwinterandsummerfurnishings,includinginsummertheQueenMother’spictureinacarvedandgiltframe,presumablytheVanDyck,Queen Henrietta Maria,nowintheLongGallery(1.5).Alsointheroomin1683werethetwopicturesinframesinthestyleofGrinlingGibbons,nowintheGreenCloset(2.4).ThesimplenatureofthefixedframingisincontrasttotheportraitframesoftheLongGallerybutneverthelesstheribbonmouldingformsaneffectiveframingdevice.TheornamentistheproductofadivisioninlabourbetweenHenryHarlowthejoiner,JohnBullamorethecarverandNicholasMoorethegilder,Harlowprovidingthebasicstructure,BullamoretheornamentalcarvingandMoorethegildingandpaintedwork.LookingattheribbonaroundVanBergen’stwooverdoors(therewereoncethree)andthecopyoverthechimneypieceofAndreadelSarto’sVirgin and Child with St John,wecanidentifythatHarlowchargedfor61½ftofpictureframesat1safoot,Bullamorefor60ftof‘Ribbandaboutyepictureframes’at1safoot,andMooreforgildinginch-widemouldingsat3dafoot.Moreexpensively,theovermantelpaintingissurroundedbycarvedandgiltfestoonsandacoronet,forwhichBullamorecharged£6.10sandMoore£5.10s.
2.7 The Queen’s Closet
Thisinnersanctumsurvivesinmuchitsoriginalformwithrichlyornamentedwoodwork,carvedbyBullamorein1673atacostofsome£35andgildedanddecoratedbyMooreforabout£50.Oneofthemostprominentfeaturesistherunofbunchesofleavesaboutthearchwhichwithadjoiningmouldingscostsome£2.11s,centredonacherubim’sfaceat10s,abovewhichisashieldat£1.Bullamorealsochargedforthefoliagetoeithersideoftheshieldat£4,thelargeraffleleavesoverthefireplaceat18sandfortheribbonmouldingsaroundthepicturesandpanelling,respectivelyat1sand6dperfoot.
Shown:ThealcoveintheQueen’sClosetwithitsgildeddecorationcarvedbyJohnBullamore
2.8 The Duchess’s Private Closet
ThisisthesecondremarkablecabinetroomatHam,butagenerationlaterthantheGreenCloset(1.6).In1679,therewerefourpictureswithcarvedandgiltframes,twosmallinsize,apictureoftheDuchess’smotherinanebonycaseand17otherpicturesinebonyframesofseveralsizes.ManyoftheworksinebonyframeshereintheDuchess’stimeprobablyremainintheroomtothisdaybutitisnotpossibletolinkthemwithconfidencetotheebonyframesthattheDuchessobtainedfromWilliamNaylorin1675.
24 Picture Frames at Ham House
John HoskinsCatherine Bruce, Mrs William MurrayNT1139682
JohnHoskins’sportraitoftheDuchess’smother,Catherine Bruce, Mrs William Murray,1638,retainsitsoriginalebonycasewithfoldingdoors(theensemblenowhousedwithinalargermodernframe).ThefamilyportraitdrawingsbytheScot,DavidPaton,togetherwithhisoldmastercopies,hereandintheGreenCloset,somedated1668or1669,wereatHamby1683.Theyappeartoretaintheiroriginalorearlyebonyframesofreversesection,probablymadeforthematthetimethedrawingswerecompleted,althoughamoredetailedexaminationoftheframeswouldberequiredtodistinguishwhethersomemaybeoffruitwoodratherthanebonyandwhetherindeedtheyareall17thcenturyindate.
Edmund AshfieldJohn Maitland, 2nd Earl and 1st Duke of Lauderdale NT1140137
EdmundAshfield’ssuperbpastel,John Maitland, 2nd Earl and 1st Duke of Lauderdale,1675,hasaremarkablecarvedandgildedframe,apparentlyofoak,perhapsthefinestonanyEnglishpasteloftheperiodandsurelyspeciallycommissionedbytheDukeorhiswifefromaleadingcraftsman.Tounderstandthelanguageoftheframe,itisnecessarytoreadtheunusuallyshapedcornersasleatherwork,asitwascalled,overlaidbyfoliageheldbytheeagleinitsclawsand,ornamentedwithacorns,flowersandberries,runningoutbehindthecorners,downthesidesoftheframetomeetinafloweratbottomcentre.
(picturedopposite)
Ham House in the 1670s 25
AboveEdmund AshfieldJohn Maitland, 2nd Earl and 1st Duke of LauderdaleSeepage24
26 Picture Frames at Ham House
2.9 The White Closet
By1679therewerefivepicturesinebonyframesheretogetherwithanoldman’sheadinagiltframe,perhapsBenedettoGennari’sHead of St Paul,c.1675,whichretainsitslap-jointedbunchedleafframe,withoriginalpalegilding.Buttheframebreaksconvention,sincetheleavespointupwards(incontrasttothemoreusualarrangementinthefixedcarvingintheMarbleDiningRoom,2.12).
Benedetto Gennari Head of Saint PaulNT1140136
2.10 The Volury
Atapestryhungbedroominthemid-17thcentury,theroombecametheVolury,orwhatNorristheframemakerin1673describedas‘theBirdeCageRoome’.Indeed,HenryHarlowchargedaconsiderablesumof£56forfourexteriorbirdcages,suggestingquitesubstantialorelaborateconstructions.TheEnglishschoolportrait,John Maitland, 1st Earl of Lauderdale,whetherpaintedc.1640orslightlylater,probablydidnotcometoHamuntilthe1670sorlater.Itsmid-centurycarvedandgiltcushionframeinpineisofatypewehavemetwithontheGreatStaircase(2.1).
2.11 The Withdrawing Room
ThomasWyck’sAn Alchemist,c.1674,achoicesmallpanelpaintingonchamferedoak,hasacarvedandgiltreverse-sectionlap-jointedpineframeofaveryfineleafpattern(muchmorefinelycarvedthantheraffleleavesornamentingtheoverdoorframesinthenextroom).ThomasWyckandhisson,Jan,alsosuppliedovermantelandoverdoorpicturesforHaminthe1670s.An AlchemistisoneofthepictureswhichJanWyckvaluedfortheDuchessofLauderdaleinthe1680sanditstillbearshisnumber,46,onasquareofpaperonthereverse,andhisvaluation,A Chymists Shop. G… Wick £8: pret: [=price].Forthe18th-centuryframes,see3.6.
Thomas WyckAn AlchemistNT1140060
Ham House in the 1670s 27
2.12 The Marble Dining Room
JohnBullamore’sbillforcarvinginwhathecalledthe‘greatparlor’,dated23April1673,providesanilluminatinginsightintocontemporaryterminologyandthecostofcarving.Heworkedinoakwhichwasleftunpainted.Hechargedfor127ft9insof‘bunchesofleaves’aroundthedoors(ofwhichtherearesixincludingthealcoves).Notehowthebuncheshangonropeswiththeirleavespointingdownwards,aswasusual.Bullamorealsochargedfor6ft9insof‘greatRafleleaves’asafriezeoverthechimneypiece.Raffleleafframesofreverseorbolectionsectionwereoneofthestandardframingdevicesoftheperiod,asweshallseeagainintheDuchess’sBedchamber.Thechimneypictureitselfwasframedinleavesandguillocheat1s.8dperfoot,totalling£1.8s.10d(larger-scaleguillochemouldings,intheformofacontinuousbandoftwointerwovenspirals,formingaseriesofcircles,werelateraddedatthesideswhentheoriginalpicturewasreplacedbyThe Presentation of a Pineapple to King Charles II,acopymadebyThomasStewartin1787).Theoverdoorframesareonaslightlysmallerscale,hencethereducedcostof1s.4dperfoot,totalling£3.18s.5dfor58ft10insofleavesandguilloche.Fouroftheoverdoors,copiesfrompaintingsbyPolidorodaCaravaggioinKingCharlesI’scollection,canprobablybeidentifiedwiththe‘6PeecesafterPolydore’,boughtfromthecarver,JohnNorris,on18April1673for£30(theothertwocanbefoundinthepreviousroom).
Thomas StewartThe Presentation of a Pineapple to King Charles II (afterHenryDanckerts)NT1139824
28 Picture Frames at Ham House
2.13 The Duke’s Dressing Room
Asfinishedin1679,theroomwashungwithcrimsondamaskandincludedHenryDanckerts’soverdoors,River Landscape with Classical Ruins and a Castleand,The Gardens at Pratolino,1673,aswellasJanWyck’sA Battlepieceoverthefireplace,allthreestillinposition.Theroomalsocontainedsevenpictureswithcarved-and-gildedframes,nolongerhere.Now,itishungwithtwopicturesinblack-and-giltframesofthe1630s,describedbelow,andothersinframesofthe1730s(see3.6).ThedelightfulearlyblackframesdecoratedwithappliedgiltcarvingontwopicturesprobablyformedpartofthecollectionofWilliamMurray.FrancescoBassanotheyounger’sOrpheus Charming the Animals,andBartolomeusBreenbergh’sClassical Ruins with Christ and the Woman of Samaria,1635,werebothapparentlyhangingintheAntechambertotheQueen’sBedchamberin1683.Whiletheseframesareunique,theirdesignandornamentwouldsuggestthattheydatetothe1630s.TheBassanoischaracterisedbytheshieldsandscrollsattop,fromwhichrunfestoonsoffruit,acornsandfoliage,hangingonribbonswithruchedribbontiesandbows,meetingatabowloffruitatbottom,theedgeoftheblackframewaved.TheBreenberghhastiedpairedvolutesatthecentres,acommonfeatureinthe1630s,andonasmallscaleatthecorners,withtrailingvinesandgrapes(thereisnoobviousreasonforthechoiceofornament).Theirflatblacksurfaceshavebeenrepainted,inthecaseoftheBassanocomparativelyrecently,withnotraceofgildingbeneath.Forthelaterframes,see3.6.
Bartolomeus BreenberghClassical Ruins with Christ and the Woman of SamariaNT1139802
Ham House in the 1670s 29
2.14 The Duchess’s Bedchamber
Anurseryinthemid-17thcentury,theroomthenbecameapanelledbedroom,grainedtoresemblewalnutwithgiltdetailing.Themostprominentcarvingintheroomistherunof‘greatrafleleaves’framingthealcove,providedbyJohnBullamoreat1s.8dafootin1673,whilethesimpleoverdoormouldingsweresuppliedbyHenryHarlow.Itseemsthatby1677theDuchesshaddecidedtoswapbedroomswiththeDuke,hencetheoddarrangementbywhichherbedchamberissandwichedbetweentheDuke’sdressing-roomandhiscloset.WillemvandeVelde’sfouroverdoorSea-pieces,dated1673,hadbeenpaintedfortheroomwhenitwasintendedfortheDuke’suse.Theseshekept,addingherhusband’spictureoverthechimney,perhapsEdmundAshfield’scrayonportrait(see2.8),togetherwithafewotherpicturesingiltframes.Now,itisherownportrait,anearlyworkbySirPeterLely,perhapsdatingtothelate1640swhenshewouldhavebeeninherearlytwenties,thathangsoverthefireplace,inacarved-and-giltbunchedleafframe(forthistype,see2.9,2.12).Theframeisratherlaterindatethantheportrait.
Ham House in the 1740s: Home of Lionel Tollemache, 4th Earl of DysartThe18thcenturyistreatedheremoresimply.FollowingtheDuchess’sdeathin1698,thehousepassedtoherson,LionelTollemache,3rdEarlofDysart(1649–1727).Hisgrandson,anotherLionelTollemache,4thEarl(1708–70),inheritedHamin1727andonhisreturnfromtheGrandTourin1729,herepairedthefabricofthehouseandsetaboutrefurnishingtheinteriorsinaconservativemanner,remodellingtheQueen’sBedchamber,theVoluryandtheMarbleDiningRoom.Headdedtoandrestoredthepicturecollection,especiallyinthe1730sand1740s,reframingsomeoftheoldmasters.Paymentsbythe4thEarlforframescannotalwaysbelinkedwithconfidencetoHam,letalonetoindividualpictures.PaulPetit,knownforhiscontemporaryworkforFrederickPrinceofWales,waspaidforsevengiltpictureframesandvariousblackprintframes,1732–5,includingexceptionallyalargetabernacleframefor£4.14sin1734.JohnHele,alesserfigure,undertookmanyrepairsatHamandHelmingham,1736–45,andsuppliednineortennewpictureframes,aswellassomeprintframeswithgiltsight-edgemouldings.AlsoworkingforLordDysartwereJohnGreenandJamesDryhurstasframemakers,WilliamBradshawandGeorgeNixascabinetmakers,andJohnArnoldasapicturerestorerandoccasionalsupplierofpeartreeframes.Inthe1750sand1760s,WilliamWattsprovidedfurtherframes,mainlyforprints.
3.1 The Great Hall
IntheGreatHall,theceilingwasopenedupsometimearound1700andthepanellingrenewed.Perhapsdatingtothiscampaignarethethreeblindoverdoorframes,withoutpictures,ofreversesectionwithanarrowinnerhuskmoulding,arunningleaf-and-scrollfriezeandanoutertriple-bead-and-reel,withvariationsbetweenframes.
30 Picture Frames at Ham House
JohnVanderbank’sfull-lengthstateportrait,Lady Grace Carteret, Countess of Dysart,dated1737,retainswhatmaybeitsoriginalshowycarved-and-giltKentframe,denselyornamented,withoutsetcorners,sidescrollsandfestoonsandcrowningfemalemasksetbetweenlarge-scalescrollingfoliage.Theadjacentpairedportraitofherhusband,Lionel, 4th Earl of Dysart,hasbeenreframedinamuchsimplerlaterMarattaframe.Onthewindowwall,GodfreyKneller’sHenrietta Cavendish, Lady Huntingtower,c.1715,isalsohousedinaKentframebutofmuchplainerstyleandpresumablyareframingofthe1730s.WhatwecallaKentframe,namedafterthearchitect,WilliamKent,wasoftenknownatthetimeasatabernacleframe(thistermisusedinbillstoLordDysartinthe1730sfromJohnGreen,JohnHeleandPaulPetit).Thelaterframesinthisroomfalloutsidethescopeofthisguide.
John Vanderbank Lady Grace Carteret, Countess of DysartNT1139647(picturedopposite)
3.2 The Hall Gallery
UpstairsintheHallGallery,someportraitshavemoreordinarycarved-and-giltKentframes,presumablydatingtothe1730sor1740s,includingGodfreyKneller’sGeneral Thomas TollemacheandtheadjacentLady Grace Carteret, Countess of Dysartwithachildandservant,amatchingframebutoflesserqualityandwithsidefestoonsmisfittedtofacesideon.Onthewindowwall,theanonymousWilbraham Tollemache, 6th Earl of Dysart as a Boy,c.1750,hasanunusualrococoframewithdoublesweepsbetweenthecentresandcorners.
3.3 The Green Closet
IntheGreenCloset,thereareseveralpictureswithrichlycarved18th-centuryframes.Ontheendwallattop,theunusedfanpaintingwithastoryfromRinaldoandArmidahasaveryfineKentframe(picturedoverleaf),whilethepairofgouaches,below,attributedtoJosephGoupy,tellingthestoryofGermanicusfromRomanhistory,haverichlycarvedstraightsidedcentre-and-cornerframes.Bothframestylescoexistedinthe1730s.Theremaybealinktoapaymentof£8.8stoJohnHelein1737for‘TwoneatframesCarvdandGiltinBurnishGouldwithSandframesandGlases’.Onthefireplacewall,thecopyofDanielMytens’James Iwaspresumablyreframedwhenitwasrelinedin1736.Almostidenticalproto-rocococentre-and-cornerframesinpinecanbefoundontwoadjacentportraits,richlycarved,withleafsightedge,sandedfrieze,leafcornersrunningintoC-scrolls,foliageandflowers,bossesatthecentres,andshortgadroonedsweepsonthetopedge.
Ham House in the 1740s 31
32 Picture Frames at Ham House
UnknownThe Embarkation of Carlo and Ubuldo with Rinaldo Deserting ArmidaNT1140147
3.4 The Queen’s Bedchamber
TheQueen’sBedchamberwasconvertedintoadrawingroombythe4thEarl.Whilethestructureoftheroomremainedintact,hecommissionedtheWatteautapestriesandmuchofthepresentfurniturefromWilliamBradshaw,aleadingcabinetmakerandupholstererwhoownedhisowntapestryworksinSohoSquare.Thetapestrybordersarenotunlikecontemporarypictureframesinsomedetails.InJune1743,Bradshawsuppliedthesplendidpairofpierglassandconsoletables,specifying‘2RichcarvedandgiltovalGlasses’at£28.10sthepair.Theglassframes,withtheircrestingfeathers,fruitfestoons,curvingbrackets,oakleafcushionmouldingandshellbases,areunlikecontemporarypictureframesbutrespecttheroom’searlierdecoration.Shown:detailofpartoftheovalpierglassinQueen’sBedchamber.ThepierglassisoneofapairbyWilliamBradshawc.1743,withcarvedandgildedframes.
3.5 The Volury
TheVolurywastransformedbythe4thEarlfromabedroomintoadrawingroom,probablyinthe1740s,installingsecond-handtapestriesandcommissioningpierglasses.TheworkmayhavebeencarriedoutbyWilliamBradshawbutisnotdocumented.
3.6 The Withdrawing Room
IntheWithdrawingRoom,therearevariousoldmasterpaintingsinfinecentre-and-cornerframesbyunidentifiedLondonframemakers,probablysuppliedwhenthepictureswererelinedinthelate1730s.TheboldlycarvedframeintheFrenchtastewithprominentdoubleleafcornersandleafcentres,hollowsides,sandedfriezeandgadroonedsightedgeontheAn Unknown Young Mancanbecomparedwiththemorestandardcentre-and-cornerframeonAbrahamBloemaert’sBaptism of Christ.Thelittlelandscape,Hagar and Ishmael(abovetable),acopyafterMola,waspossiblyacquiredin1748,perhapsinitspresentearly18th-centurygadroonedframe.
Abraham BloemaertThe Baptism of ChristNT1140058
Ham House in the 1740s 33
34 Picture Frames at Ham House
3.7 The Marble Dining Room
IntheMarbleDiningRoom,thepierglassesare18th-centuryintroductions.Butfortheiropenscrollpedimentsandcresting,theyaresimilarinformtocontemporaryKentpictureframes.LordDysart’sapproachtothisroomwasconservative,respectingtheearliercarvingbutreplacingtheleatherwallcoveringsin1756andapparentlylayingthemarquetryflooratthesametime.However,thepierglassesareratherearlier.Theyhavebeenassociatedbothwiththecabinetmaker,GeorgeNix,whochargedfortwopierglassesat£12in1729,andwithWilliamBradshawwhosuppliedapairoflargeglassesfor£17.17sin1737,inbothcasesforunspecifiedlocations.WhatwedoknowisthatBradshawwascertainlyatworkintheroomin1737,whenhechargedforalteringcurtains.
Shown:Giltwoodpierglass,oneofapair,intheMarbleDiningRoom
3.8 The Duke’s Dressing Room
IntheDuke’sDressingRoom,therearefurtherworksinparticularlyfinecarved-and-giltcentre-and-cornerframesofthe1730s.Severalofthepictureswererelinedin1736andprobablyreframedatthesametime,includingJacobdeWet’sThe Hosts of Pharaoh engulfed by the Red SeaandtheBassanoIsraelites gathering Manna andDaniel in the Lion’s Den.
Franceso BassanoThe Israelites gathering MannaNT1139800
Appendix: cautionary notes and technical terms
Bythemid-17thcentury,thereweretwostandardportraitsizes,ahead-and-shouldersformatat762x635mm(30x25in)andthehalf-lengthat1270x1016mm(50x40in),makingitrelativelyeasytoswapframesfromoneportraittoanother.Ontheotherhand,pictureswhicharenotinoneofthesestandardformatsaremorelikelytohaveretainedtheiroriginalframes.Pictureshavebeenmovedfromonefamilyhometoanother,meaningthatthecollectionhaschangedconsiderably.In1672,108pictures,63ofthemdescribedasgreatpicturesandothersaslesserorlittle,allbutfouringiltframes,weretakentoScotlandfromHamandLauderdaleHouseinHighgate.Inabout1679sixgiltframesfromthewardrobestoreatHamweregivenaway.Itcanbedifficulttolinkreferencesin17th-centurybillsandHaminventoriestoindividualpictureswithconfidence.Nevertheless,aninventoryof1683isakeydocumentinestablishingthehangofthecollectionafterthemanychangesofthe1670s.Manyframeshavebeenregildedandothersaltered.Ithasnotbeenpossibletoexaminethereverseofframesinworkshopconditions,necessaryforafullyinformedjudgement.
back edge:theouteredgeoftheframe,furthestfromthepicture.gadroons/gadrooning:aseriesofconvexshapedridgesinarepeateddecorativepattern.lap joint:acornerjointwiththewoodofonesideoverlappingtheadjoiningside.mortise-and-tenon:ajointwhereatenonortongueofonetimberisfixedthroughamatchingshapedmortiseorholeinanothertimber.mitre joint:adiagonaljointusedinthecornerofframeswiththeadjacentsidesabutting.reverse section:aframewiththemostprominentmouldingnearesttothepicture.sight edge:theinneredgeoftheframenearesttothepicture.volute:aspiralscroll.
Further Reading
DUNBAR,JOHNG.‘Thebuilding-activitiesoftheDukeandDuchessofLauderdale.’Archaeological Journal132(1975):202-30.LAING,ALASTAIRANDNINOSTRACHEY,‘TheDukeandDuchessofLauderdale’spicturesatHamHouse.’Apollo(May1994):3-9.ROWELL,CHRISTOPHER,‘TheGreenClosetatHamHouse.’Apollo(April1996):18-23.SIMON,JACOB.‘PictureFramingatHamintheSeventeenthCentury’,ChristopherRowell(ed.)Ham House: 400 Years of Collecting and Patronage.(2013):144-57.THORNTON,PETERANDMAURICETOMLIN.The Furnishing and Decoration of Ham House. London:FurnitureHistorySociety,1980.TOMLIN,MAURICE.‘PictureFramesatHamHouse’,International Journal of Museum Management and Curatorship.vol.4(1985):129-40.
SeealsoHam House, Surrey,NationalTrustguidebook,1995andsubsequenteditions.
Appendix and Further Reading 35
36 Picture Frames at Ham House
Acknowledgements
TheNationalTrustgratefullyacknowledgesagenerousbequestfromthelateMrandMrsKennethLevythathassupportedthecostofpreparingthispublication.
JacobSimonextendshisthankstoChristopherRowell,whoinvitedhimtoparticipateintheHamHouseanniversaryconferenceandwhoprovidedtheopportunitytoexaminethestaircasepicturesoffthewall.ToVictoriaBradleywhojoinedhiminexaminingsomeframesintheGreenCloset.ToallthosewhohavestudiedtheframesatHamincludingAlastairLaing,TimothyNewbery,NinoStrachey,PeterThorntonandMauriceTomlin.ToSuePritchardandMalcolmSmutsforaccesstodocumentation.
Forfurtherinformationaboutpaintingsandframesfeaturedpleasevisithttp://www.nationaltrustcollections.org.uk/
Illustrations:NationalTrustImages/JohnHammondpp.5,6,7,8,10,11,12,14,15,16,17,18,19,20,21,24,28,29,30,32,34,36,37,38;NationalTrust/BillBattenp.26;NationalTrust/ChristopherWarleigh-Lackpp.22,25,27,31,35,37.
©2014NationalTrust
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TextbyJacobSimon( [email protected])
EditedbySarahOkpokam
DesignedbyLEVELPartnershipFrontCover:UnknownArtist,An Unknown Lady in Red,1630s(seepage19)
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